Broadway To Vegas

Copyright: June 29, 2025
By: Laura Deni
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PBS WANTS MONEY: THINKING UP CREATIVE WAYS TO FILL THEIR COFFERS

PBS wants money and is trying a variety of ways to - as "Oliver's" Fagin would say "You've Got To Pick a Pocket or Two". Summer tours offer endless possibilities and PBS in Las Vegas is chartering the buses. Recently a kayaking tour took a group down the river and all appeared to have had a perfect time.

Next was a two day theater tour to Utah. Under the leadership of Margaret Ann Schneweis, member service manager, we all hopped on board. Schneweis frequently appears on KLVX during pledge breaks to gin up support for gift giving. She has a favorite hat which she wore during pledge breaks for "Downton Abbey," and manages to keep her sunny disposition when others don't.

The full bus was composed of mostly older individuals who exhibited knowledge on a variety of subjects and polite manners to conduct intelligent and thoughtful conversations. The vast majority were well traveled.

When one lady expressed that she had seen on Broadway the new, award winning version of Some Like it Hot and didn't like it - she went on to tastefully explain why. Others hearing her comments chimed in, and a conversation ensued. What had the potential of becoming an inappropriate public conversation became smart, sharp and well thought out comments.

Welcome to Tuacahn. Photo: Laura Deni

First stop was the Outdoor Tuacahn Amphitheatre.

Tuacahn was founded in 1995 by playwright Douglas C. Stewart. Partnering with philanthropist and businessman, Hyrum W. Smith, he planned to create a space to tell the stories of Utah's ancient inhabitants and pioneer settlers. The location they picked? Inside a mountain.

Stewart wanted a name for the amphitheater that had a "Native American feel," so he "massaged" a Mayan word for "canyon of the gods" to create "Tuacahn."

Tuacahn opened in April 1995 with a dedication by Gordon B. Hinckley and the Mormon Tabernacle Choir. The venue presented the musical, Utah! which featured historic pioneer tales, including the 1865 flood that destroyed many homes.

Even steps are used as promotional background. Photo: Laura Deni

As it stands today the venue houses two theatres and a black box. The summer heat is neutralized by excellent mist coolers. The personnel are informed and courteous.

There is a downside. A significant one. The hard seats are the worst ever. With little passage of time your bum is numb and it really hurts in attempting to stand up.

The Tuacahn Amphitheater is a 2500-seat open-air amphitheater. All seats have backs and arms, but few are cushioned. Tuacahn expanded its padded seating options. Last year there were 200 padded seats and this year there the total has increaded to 700.

You're in Mormon territory so expect to see wall to wall children. For many The Little Mermaid will be their first theatrical experience. This beloved tale of adventure, love, and self-discovery is a perfect choice.

The production features: Kelsey Lee Smith, Julie Cardia, Eric B. Anthony, James Everts, Davey Burton Midkiff, Fred Inkley, Jackson Beeson, Hudson Sullivan, Randal Keith, Alec Talbot, Stephen Diaz, Nick Berninger, Mallorie Mendoza, Jillian Butler, Delaney Gold, Abby Linderman, Hannah Hubbard and Bella Depaola.

The Litle Mermaid Orchestra. Photo: Tuacahn.

The orchestra includes Gary Bogers, Jr., Teresa Payne, Simon Hutchings, Tanner Dawson, Jared Nicholson, Amy Paterson, David Linz, Jay Nygaard, Tara Tichenor, Linda Ghidossi-DeLuca, Tracie Price, Abby Singer-Miller, Glenn Webb, Rowena Webb.

Musical Supervision Christopher Babbage, Music Coordinator Tracie Price.

Musical Director Christopher Babbage. Associated Music Director Daniel Mollett, Assistant Music Director Alex Huff.

The melding of crayon colors is awesome. Colors pop in costume designs by Robon L. McGee and scenic and lighting design by Paul Black.

The singers are astounding. The performers scoot around the stage on their mermaid flippers under which is a contraption resembling a ball married to a robotic carpet cleaner. The special effects are top notch. The music sounded almost "too good". The quality was flawless. An outdoor performance, yet none of the problems usually associated when those elements are part of the score. Were the singers singing over their own recording, which is a common practice. What role did the sound technicians play? Was AI even used? (See below under Spread The Word - Alan Alda). A woman, who apparently didn't like me asking questions about the sound snapped: Do you have pitch perfect hearing?

No. But I do know when outdoor sound comes across as too good to be true. Credit the techs for getting it above the bar.

The text book answer on how you mike the outdoors.

To ensure performers sound perfect when singing outdoors, a combination of technical equipment and acoustic considerations are crucial. Here's a breakdown:

1. Managing Outdoor Acoustic Challenges:
Sound Dissipation: Unlike indoor venues where sound waves reflect off walls and ceilings, outdoor spaces lack these surfaces, causing sound to travel further and dissipate faster. This leads to a loss of volume and clarity.
Weather Conditions: Wind, humidity, and temperature can negatively impact sound quality. For instance, wind can interfere with microphones and distort sound waves.
2. Technical Equipment & Setup:
Professional Audio System: Utilizing a high-quality PA system with weatherproof speakers designed for outdoor use is vital for projecting clear sound to the audience.
Appropriate Microphones: Using microphones that minimize wind noise and are suitable for vocal performance in outdoor environments is essential.
Stage Structure: A stage with a solid floor and back panels helps to direct and focus the sound, minimizing loss.
Speaker Placement: Surrounding the audience with PA speakers rather than just having them at the front ensures more even sound distribution.
Powerful Subwoofers: Subwoofers help to provide a fuller sound by amplifying low frequencies.
3. Sound Engineering Techniques:
Equalization and Compression: Adjusting these settings helps to compensate for the loss of sound pressure and frequency response in outdoor settings.
Reverb and Effects: While outdoor spaces inherently lack natural reverb, sound engineers can use artificial reverb and other effects to enhance the vocal sound and make it feel less dry.
Monitor Mixes: Ensuring performers have clear and accurate monitor mixes allows them to hear themselves and stay in tune.
4. Performer Preparation:
Vocal Technique: Singing outdoors often requires more projection and control to ensure the voice carries well.

The creative genius of live techs can make the difference between sensational and okay.

When it comes to live theater, the visual spectacle is an undisputed important component. But not everything happening on stage is about what the audiences see — so much of it is about what they hear.

Stephen Simpson Lead Audio Tech. Photo: Tuacahn

Stephen Simpson is Lead Audio Technician. The sound department at Tuacahn is in charge of mixing and balancing all the auditory pieces, a process that is far more complex than many people realize. “Audio is a living, breathing department,” Simpson has said. "There are so many things that affect what we do."

For example, if an actor is feeling a little off, or not singing and projecting as loud as they usually do, the person at the mixing board has to be prepared to account for that. In addition, outdoor elements, including wind, humidity, and temperature, affect the sound waves. So, in a space like the Outdoor Tuacahn Amphitheatre, those variables are different every night.

Mixing the sound for the musicals is how Simpson was introduced to his job at Tuacahn. According to the venue: He was originally brought in to work as an audio person for the Indoor Hafen Theatre in 2022. He worked with "Buddy: The Buddy Holly Musical" and was scheduled to come back to work on "Rudolph the Red-Nosed Reindeer". However, some personnel changes left an opening in the sound department for the Outdoor Amphitheatre and Simpson was thrilled to jump in, covering both theaters for the rest of the season.

Today, he oversees the audio department, working on pre-emptive sound setup with the sound designer Josh Liebert, as well as providing in-depth maintenance on the sound equipment during the off season, like purchasing new mic packs for the actors this year, and upgrading the wireless packs and headsets used by the stage manager to communicate with the technicians during the shows.

"Most of our lead actors have two mics on, that way if one goes down during the scene, we can instantly switch to the other one," Simpson says. Off stage, there are two audio technicians Natalie Cardona and Lauren Brighton standing by to assist in any microphone issues, from "sweat outs" to dead batteries, to broken antennas.

Also backstage, is a monitor engineer, or "A2", who sits in a room on the side of the stage listening to all the microphones through a computer.

"Their job is to keep track of when each person is on stage so before they go on stage the A2 can listen to their mic and see if we can hear them," Simpson documented.

Simpson also plays a big part in the design and execution of sound effects during the musicals, such as making sure the timing of the audio, video and lighting components are in sync to make an earthquake appear realistic.

Others in the audio department include: Scott Hill, Ruben Juarez, Salem Turner, Annabell Mailard, Andrew Gaszo and Al Ryggie.

"It’s an art form and a science," Simpson says of the work he and his team provide. "There is a lot of science and math used to determine which frequencies will bring out certain instruments in the pit orchestra, for example. But there is also a lot of art and design principles that go into how the overall project sounds."

“If a lighting cue is a half a second too late, or if someone goes on stage without one costume detail in place, people tend to be forgiving, or they may not even notice, but with audio, if someone’s mic isn’t on, everyone can hear it… or can’t hear it,” Simpson says. “If we’re doing our job right, the audience won’t notice us."

After a night's stay the Hilton Garden Inn where every room contains an iron, ironing board, coffee maker, refrigerator and microwave, plus a free breakfast we were off. Next stop the Utah Shakespeare Festival in Cedar City.

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This is not your typical, totally boring textbook.

In the pages of How To Earn A Living As A Freelance Writer (the first to be lied to and the last to be paid) you'll find sex, celebrities, violence, threats, unethical editors, scummy managers and lawyers, treacherous press agents, sex discrimination; as well as a how-to for earning money by writing down words.

ART AND ABOUT

SUPERFINE: TAILORING BLACK STYLE The Costume Institute's spring 2025 exhibition presents a cultural and historical examination of Black style over three hundred years through the concept of dandyism. In the 18th-century Atlantic world, a new culture of consumption, fueled by the slave trade, colonialism, and imperialism, enabled access to clothing and goods that indicated wealth, distinction, and taste. Black dandyism sprung from the intersection of African and European style traditions.

"Superfine: Tailoring Black Style" explores the importance of style to the formation of Black identities in the Atlantic diaspora, particularly in the United States and Europe. Through a presentation of garments and accessories, paintings, photographs, decorative arts, and more, from the 18th century to today, the exhibition interprets the concept of dandyism as both an aesthetic and a strategy that allowed for new social and political possibilities. Superfine is organized by guest curator Monica L. Miller, who has created 12 sections, each representing a characteristic that defines the style, such as Champion, Respectability, Heritage, Beauty, and Cosmopolitanism. Together, these characteristics demonstrate how one's self-presentation is a mode of distinction and resistance—within a society impacted by race, gender, class, and sexuality.

This exploration of Black dandy fashion and its representation in art and literature highlights the vibrant, complicated legacy of a recognizable yet constantly shifting style, from its origins in Enlightenment Europe to the contemporary art and fashion worlds.

On exhibit through October 26, 2025 at The Met Fifth Avenue in New York City.

TATE MODERN IN LONDON on Wednesday, June 25, 2025, 680 leading artists and philanthropists from across the world celebrated 25 years of Tate Modern at a fundraising gala in the Turbine Hall.

Many artists joined Tate’s generous supporters for one of the most prestigious art events ever held in London. They included Grayson Perry, Bridget Riley, Marina Abramovic, Gilbert & George, Jenny Saville, Antony Gormley, Tracey Emin, Steve McQueen, Cornelia Parker, Michael Craig-Martin, Lubaina Himid, Yinka Shonibare, Celia Paul, Sonia Boyce, Isaac Julien, Sarah Sze, Jeremy Deller, Claudette Johnson and John Akomfrah.

During the evening, Tate’s Chair, Roland Rudd, announced the official launch of an endowment fund to secure Tate’s long-term future, with £43 million already raised through the generosity of individuals, foundations and Tate Trustees. The aim of the campaign is to raise an endowment of £150 million by 2030. Called the Tate Future Fund, this is one of the most ambitious cultural fundraising campaigns of its kind in the UK, and will support Tate’s ground-breaking exhibition program, its world-leading research and its peerless public reach.

The following supporters’ generosity has helped to establish the Tate Future Fund: James Bartos, Bloomberg Philanthropies, Nick Clarry, Mala Gaonkar, Anthony and Sandra Gutman, Jack Kirkland, Jamie and Michael Lynton, The Manton Foundation, Jorge M. and Darlene Pérez, Manizeh and Danny Rimer, and Roland and Sophie Rudd. The Fund will now move into active campaign mode, with donors being solicited from Tate’s extensive global supporter network.

The gala included performances by the Pet Shop Boys and actress Gwendoline Christie, and food prepared by chef Ruthie Rogers of the Michelin-starred River Café, served at tables with cloths and napkins specially designed by Tracey Emin and Peter Saville.

The gala itself raised over £1 million through the generous support of table hosts and guests. These funds will be used to directly support Tate’s artistic program, its collection and its learning and educational activities.

Tate Modern is the world’s most popular museum of modern and contemporary art, welcoming over 115 million visitors since it opened in May 2000. It has transformed the British public’s relationship with contemporary art and inspired a new generation of museums and galleries to open across the UK and the globe. Tate Modern has also led the way in expanding and re-energizing the story of art, celebrating the greatest artists from around the world from the dawn of the 20th century to the present day.

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SPREADING THE WORD

MASQUERDE SOUNDS LIKE A HOOT the creative genius of Andrew Lloyd Webber who is bringing some relief to a hot, miserable summer by staging an immersive Masquerade. Nusic by Andrew Lloyd Webber, lyrics by Charles Hart, additional lyrics by Richard Stilgoe and book by Richard Stilgoe and Andrew Lloyd Webber.

Tickets for a six-week New York summer run of Masquerade, the immersive Phantom of the Opera spinoff production, will go on sale June 30 with access only to those who have signed up on the production website by then. There is also a strict dress code. Previews in New York will begin on July 31 for a six week preview period. Tickets begin at $195.

For months crypic messages are been appearing. Finally, tickets will be available - to a few.

"You are strongly advised to sign my ledger by the 30th of June," the missive in-tolls.
"This will ensure you will be granted access to my production during the six weeks I have elected to present it to a very fortunate few."

"The following requirements for attendance, the message states, "must be strictly adhered to":

"You must dress in black, white or silver or a combination of these colours;"
"You must at all times conceal your face. A masquerade mask in black, white, or silver is required. Bring your own or purchase one at the door;"
"Finally, a word of advice. Do not wear high heels. Whilst in certain circumstances these can be appropriate, they could be treacherous as you tread the secret catacombs and dark crannies that I have prepared for you."

The immersive experience will be staged at a former multi floored Art Shop on 57th street in NYC.

The production was hinted at over a year ago. Auditions were held last April.

Tony Award Winner Diane Paulus will direct former phantoms Hugh Panaro and Jeremy Stolle, Baby Byrne, who appeared in the recent, acclaimed Off Broadway reimagining of Lloyd Webber’s Cats christened Cats: The Jellicle Ball, Nicholas Edwards, Gabriella Enriquez, Haile Ferrier, Nkrumah Gatling, Cooper Grodin, Maxfield Haynes, Bryan Hernandez-Luch, Satomi Hofmann, Kody Jauron, Francisco Javier González, Maree Johnson, Tia Karaplis, Nathan Keen, Joe Kerr, Jeff Kready, Jacob Lacopo, Eryn LeCroy, Raymond J. Lee, Telly Leung, Claire Leyden, Francesca Mehrotra, Georgia Mendes, Betsy Morgan, Riley Noland, Charles Osborne, Chris Ryan, Kyle Scatliffe, Paul Adam Schaefer, Clay Singer, Phumzile Sojola, Nik Walker, Andrew Wojtal, Kaley Ann Voorhees, who portrayed Christine on Broadway in 2014 to 2019 stints, Kevin Zambrano, and Anna Zavelson.

The creatives include: Hunter Bird, Sidi Larbi Cherkaoui, Kathy Fabian, James Fluhr, Jessie Flynn, Nicola Formichetti, Skylar Fox, Kate Lumpkin, J. J. Janas, Brett Jarvis, Marc Kimelman, Lee McCutcheon, Scott Pask, Emilio Sosa, Gypsy Snider, Ben Stanton, and William Waldrop.

A one night benefit took place November 1, 2024 at the Fountain Hills Theater, to benefit the Arizona theater. The fundraising event invited guests to enjoy the experience " inspired by Andrew Lloyd Webber's Phantom of the Opera.

Guests were invited to "spent an rimmersive evening at the Paris Opera House filled with elegance, intrigue and captivating performances.Move through the opera house chambers while sipping champagne and enjoying hors d'oeuvres and enchanting music"

The stripped down version advised guests: "Semi-formal attire is encouraged." The evening finale brought guests back to the courtyard to meet the cast and enjoy more champagne and food.

The "Phantom Masquerade" on TikTok discloses that the production involves a multi-floor, multi-cast production taking place in a former art shop in New York City. The experience incorporates elements of the original story, including the Phantom, a masquerade ball, and a mysterious tarot reader. The production has openly courted TikTok followers offering them the opportunity to solve puzzles, receive favors like ice cream and tarot readings and then sharing their experiences on TikTok.

ALAN ALDA disclosed on his recent Clear & Vivid podcast that his voice was showing a bit of wear and tear thanks to his battling Parkinson Disease. In listening to a playback of the podcast segment he realized some words were shallow and difficult to understand. To remedy that Alda used AI to fill in the shallow and missed word portions. The results are amazing. Is it Alda or AI Alda? Nobody can tell the difference. THE DUCHESS OF GLOUCESTER President, Royal Academy of Music, will attend the Graduation Ceremony in London on July 8, 2025.

CABARET AT THE KIT KAT CLUB will end a 14-month run at the August Wilson Theatre on October 19, 2025. Bringing the curtain down in style will be Billy Porter and Marsha Wallace who will take over the leading roles of Emcee and Sally Bowles. They also starred in those roles earlier this year in the West End production.

JOB WELL DONE Manhattan Theatre Club's Visionary Artistic Director Lynne Meadow announced that she will step down after 53 years, assuming an advisory role until a new sirector is hired.

She is credited with taking the venue from a small Off-Off-Broadway space to a Tony-winning company.

Meadow is the recipient of the Lee Reynolds Award from the League of Professional Theatre Women, the Manhattan Award from Manhattan magazine, the Person of the Year from National Theatre Conference, the Margo Jones Award, the 2003 Mr. Abbott Award, the 2011 Lucille Lortel Lifetime Achievement Award, the 2011 Lilly Award for Lifetime Achievement, and the Louis Auchincloss Prize. She is a Theater Hall of Fame Inductee.

RICHARD SKIPPER who spent decades noted for his impersonation of Carol Channing is spilling the beans. On Thursday, August 22 he'll return to the The Laurie Beechman Theatre in NYC for an encore performance of Everything You Always Wanted to Know About Richard Skipper (But Were Afraid to Ask) such as: What it is like to perform a completely unscripted show.
How he went from celebrating Carol Channing to become her friend.
What is something the public doesn't know about Carol?

The evening is an unscripted, audience-driven cabaret performance.

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THE MIRROR CRACK'D a new adaptation by Rachel Wagstaff.

Directed by Delicia Turner Sonnenberg.

Miss Marple, Agatha Christie's iconic sleuth, takes center stage in this gripping, glamorous mystery. When the filming of a star-studded movie in a quaint village leads to a chilling murder, everyone becomes a suspect. Miss Marple untangles a web of jealousy, ambition, and hidden truths. Can you solve who is behind it all?

Behind The Glamour Lies a Deadly Secret.

July 11 - August 17 at the Alley Theatre in Houston, Texas

THE MALLARD by Vincent Delaney, winner of the 2024 Premiere Play Festival.

Directed by Premiere Stages Producing Artistic Director John J. Wooten.

"The Mallard" will feature actors Eddie Gouveia Blackman, Susan Ferrara, Jennifer Leigh Houston, Victoria Pollack and Woodrow Proctor.

Understudies for the production are Kean Theatre Conservatory alumni Kara Groom and Ken Macalos.

The professional design team includes Set Designer Bethanie Wampol-Watson, Costume Designer Karen Lee Hart, Lighting Designer Zack Gage, Sound Designer Tyler Sautner and Props Master and Scenic Artist Michael Brinskele. Casting is by Stephanie Klapper, CSA. Dale Smallwood is the Production Stage Manager. Roe Manzo is the Assistant Stage Manager.

In this new comedic play, Freya and Gillian are teachers who have offended their school board and lost their jobs. Davis and Reagan are yard sale fanatics in search of a priceless antique duck decoy, the Horace Crandall Mallard. What follows is a fierce, funny and escalating battle over a symbol that has wildly different meanings- intersecting the couples in a journey that far surpasses the quest for treasure.

July 17-August 3 in Kean University’s Bauer Boucher Theatre Center on the Kean University main campus in Union, N.J.

THE COMPLETE WORKS OF WILLIAM SHAKESPEARE (abridged) [revised] [again]. By Adam Long, Daniel Singer, and Jess Winfield. With new revisions by Daniel Singer and Jess Winfield.

Directed by Jeffrey M. Bender.

"All 37 Plays in 99 Minutes!”
Fasten your seat belts for a high-energy, slapstick rollercoaster ride through Shakespeare’s entire canon! Three madcap actors scamper their hapless way through all the comedies, tragedies, histories, and romances in one hysterical, fast-paced, and irreverent evening that will leave you rolling in the aisles with laughter.

Featuring Ty Lane, Patrick Toon and Kayla Ryan Walsh.

Press Opening is Saturday, July 12th at the The F.M. Kirby Shakespeare Theatre, Madison, NJ, on the campus of Drew University.

E-Book

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This is not your typical, totally boring textbook.

In the pages of How To Earn A Living As A Freelance Writer (the first to be lied to and the last to be paid) you'll find sex, celebrities, violence, threats, unethical editors, scummy managers and lawyers, treacherous press agents, sex discrimination; as well as a how-to for earning money by writing down words.

FINAL OVATION

LALO SCHIFRIN composer of the "Mission: Impossible" theme, died Thursday June 26, 2025. He was 93.

Composer Schifrin penned more than 100 arrangements for film and television.

The Argentine won four Grammys and was nominated for six Oscars, including five for original score for "Cool Hand Luke," "The Fox," "Voyage of the Damned," "The Amityville Horror" and "The Sting II."

He also wrote the grand finale musical performance for the World Cup championship in Italy in 1990, in which the Three Tenors — Plácido Domingo, Luciano Pavarotti and José Carreras — sang together for the first time. The work became one of the biggest sellers in the history of classical music.

Schifrin, also a jazz pianist and classical conductor, had a remarkable career in music that included working with Dizzy Gillespie and recording with Count Basie and Sarah Vaughan.

Perhaps Schifrin’s biggest contribution was the instantly recognizable score to television’s "Mission: Impossible." Written in the unusual 5/4 time signature, the theme was married to an on-screen self-destruct clock that kicked off the TV show, which ran from 1966 to 1973. It was described as "nly the most contagious tune ever heard by mortal ears" by New Yorker film critic Anthony Lane and even hit No. 41 on the Billboard Hot 100 in 1968.

"Mission: Impossible" won Grammys for best instrumental theme and best original score from a motion picture or a TV show. In 2017, the theme was entered into the Grammy Hall of Fame.

Born Boris Claudio Schifrin to a Jewish family in Buenos Aires — where his father was the concertmaster of the philharmonic orchestra — Schifrin was classically trained in music, in addition to studying law. After studying at the Paris Conservatory — where he learned about harmony and composition from the legendary Olivier Messiaen — Schifrin returned to Argentina and formed a concert band. Gillespie heard Schifrin perform and asked him to become his pianist, arranger and composer. In 1958, Schifrin moved to the United States, playing in Gillespie’s quintet in 1960-62 and composing the acclaimed "Gillespiana."

The long list of luminaries he performed and recorded with includes Ella Fitzgerald, Stan Getz, Dee Dee Bridgewater and George Benson. He also worked with such classical stars as Zubin Mehta, Mstislav Rostropovich, Daniel Barenboim and others.

Schifrin moved easily between genres, winning a Grammy for 1965’s "Jazz Suite on the Mass Texts" while also earning a nod that same year for the score of TV’s "The Man From U.N.C.L.E." In 2018, he was given an honorary Oscar statuette and, in 2017, the Latin Recording Academy bestowed on him one of its special trustee awards.

Among Schifrin’s conducting credits include the London Symphony Orchestra, the Vienna Symphony Orchestra, the Israel Philharmonic, the Mexico Philharmonic, the Houston Symphony Orchestra, the Los Angeles Chamber Orchestra and the Atlanta Symphony Orchestra. He was appointed music director of Southern California’s Glendale Symphony Orchestra and served in that capacity from 1989-1995. Schifrin also wrote and adapted the music for "Christmas in Vienna" in 1992, a concert featuring Diana Ross, Carreras and Domingo. Schifrin was also commissioned to write the overture for the 1987 Pan American Games, and composed and conducted the event’s 1995 final performance in Argentina.

And for perhaps one of the only operas performed in the ancient Indigenous language of Nahuatl, in 1988 Schifrin wrote and conducted the choral symphony "Songs of the Aztecs." The work premiered at Mexico’s Teotihuacan pyramids with Domingo as part of a campaign to raise money to restore the site’s Aztec temple.

In addition to his sons William and Ryan, he’s survived by his daughter, Frances, and wife, Donna.

Next Column: July 6, 2025
Copyright: June 29, 2025 All Rights Reserved. Reviews, Interviews, Commentary, Photographs or Graphics from any Broadway To Vegas (TM) columns may not be published, broadcast, rewritten, utilized as leads, or used in any manner without permission, compensation and/or credit.
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Laura Deni